In many parts of Pakistan, children face harsh conditions while pursuing an education—one of the most pressing being the lack of electricity in schools. With no fans in scorching heat or lights during dark, cloudy days, classrooms become challenging environments. Yet, despite these obstacles, students show remarkable resilience and determination. They sit on the floor, share worn-out books, and sometimes walk long distances just to attend school. Their unwavering commitment to learning, even without basic facilities, is both humbling and inspiring. These children remind us that the desire to learn can shine even when the lights do not.

The photo series “The Language of Eyes” captures the unspoken emotions and untold stories of children through their powerful gazes. Each portrait reveals a unique expression from silent anger and shy innocence to cultural pride and wide eyed wonder. Despite their diverse appearances and backgrounds, all these children share one common thread: their eyes speak. Without saying a word, they reflect strength, vulnerability, curiosity, and heritage. This collection is not just a set of portraits it is a visual narrative where every look tells a story, felt more than heard.

depicts a person with two faces and two colors, which can present two completely different personalities and two different views of yourself, and if it were visible, it would be depicted in this artistic way

This series explores the intersection of softness and strength through translucent textures and sculptural form. The model is enveloped in layers of seafoam tulle, symbolizing both delicacy and presence. Every frame is carefully lit to elevate the metallic hues and glassy skin, creating a dreamlike fashion portrait with a cinematic calm. Shot with a high-fashion approach, the focus was on balance—between movement and stillness, clarity and mystery.

For professional ballet students, pain is an indispensable companion. Every morning, students begin their day with painful stretching exercises to align their bodies daily, to make their bodies flexible enough to meet the demands of complex ballet movements. Legs split open more than 180 degrees, backs bend like a bow, every joint of the leg and arm cracks. It hurts to the point of tears, but they still grit their teeth and endure, because stopping means falling behind. They learn to endure, learn to turn pain into a part of life. They trade youth for rolling around on the practice floor, trade fun with friends to maintain their figure, maintain their weight, maintain every perfect line for an actor's body. Although they started learning from a very young age (12 years old), they still force themselves into the mold of discipline, where there is no room for laziness or weakness. They have to spend 4-6 years of hard training to become a ballet dancer. But it is also in that hardship that the beauty of love and passion for art emerges. When the sore feet continue to tiptoe with pride, when the slender hands draw soft curves in the air, we see the will and tremendous effort of those who choose dance as their way of life. And if anyone is wavering in the face of difficulties, look at them – those who have gone through pain, gone through tears, to reach their dreams. Success has never been for those who easily give up.

The photo was taken in Egypt 2019 using my Nikon D750 camera and 24-70mm lens to show the fear and sad Feeling in 2019 due to the covid19 pandemic, Quarantine and lock down time

As a portrait photographer living and working in Iran, I have always faced the challenge of portraying women’s identity and emotions within the boundaries of mandatory dress codes. This project is the result of my effort to reflect that reality — where the shawl, beyond being a social obligation, becomes part of the composition and my visual language. My goal was for each image to be more than just a portrait: to offer a glimpse into the subject’s character and inner world, even when part of her appearance remains hidden. It was important for me to show that even within these limitations, it is still possible to capture and convey true femininity, strength, and authentic identity. This series seeks to guide the viewer’s gaze beyond the covering — toward the eyes, expressions, and genuine human moments; to that place where boundaries fade, and something deeper rooted in emotion and presence is revealed.

This man is tired of life because of the hard living

It is about the history of two clowns

While children are playing in an old alley, a dog passes by and the children decide to throw their balls at it.

One of the most important mourning events in Noushabad city is the symbolic presence of the demons on the 8th day of Muharram. Every year on this day, a large number of people in Noushabad dress up and paint their faces and bodies to make themselves look like demons. . This ceremony is held in memory of the presence of a group of demons at the behest of Zafar Jani - their leader - in the incident of Karbala. Children have a colorful presence in this ceremony and attend this ceremony with their parents with indescribable enthusiasm. The frames of this collection have been prepared during the last four years in residential houses and streets leading to Hosseinieh Noushabad.

A beautiful Chinese water angel at the border of the spirit and human realm. She wonders about the mortal world and how it feels to fall in love with a man.

Marriage in the LGBTQ+ community is on the rise, providing couples with legal recognition, social acceptance, and the freedom to live authentically. As more countries embrace marriage equality, LGBTQ+ partners can enjoy the same rights and benefits as heterosexual couples, including healthcare, inheritance, and parental rights. This progress fosters stronger relationships, enhances mental well-being, and promotes inclusivity. Love knows no boundaries, and the increasing acceptance of LGBTQ+ marriages marks a significant step toward equality and a more just society.

Flight of the Ballerina

In the stillness of a spring night, I find myself quietly suspended beneath a canopy of cherry blossoms. This self-portrait was taken under full bloom, where the petals hung like dreams against the dark. Lit only by a single diffused source, the scene echoes the ephemeral nature of both the sakura and human experience. In Japanese culture, blossoms are symbols of impermanence--beautiful, brief, and ever drifting toward disappearance. By capturing myself mid-air in such a setting, I wanted to embody that transience, not just visually, but emotionally. Levitation here is not spectacle but surrender--to time, to nature, to memory.

"Just an orange filter." - This is what I thought before I saw it with my own eyes. Firefall phenomenon gives waterfall lava-like appearance at Yosemite National Park. Firefall happens in the winter, when Horsetail Fall is flowing and the sunset hits the waterfall just right. The phenomenon doesn't last long each year. Just for a few weeks, typically in February. I was lucky to see this rare wonder of this planet. The series not only presents the finale but also the beautiful variety of exciting anticipation.

Composed of several aerial shots this work shows one example of the wonderful world at Iceland's Highlands: In a valley, grooves and rivers intertwine, shaping the land into majestic forms, symbolizing resilience and interconnectedness. Rivulets, streams and brooks seemingly run over and under each other, crossing, parting and melting again.

A lone musher with his dogs drives through the vast arctic expanses of Spitsbergen.

This Photo was taken during majestic pink sunrise in front of the most beautiful mountains in Torres del Paine National Park, Chile.

Sidar is a name given to baby boys, which means the shadow of the tree in Kurdish. The harsh winter conditions in the steppe make it quite difficult to survive in nature. Snow, cold and wind do not allow the trees to cling to the ground and survive. Sometimes a single tree manages to survive against all these difficulties. This lonely and resilient tree is like an oasis where people and animals take shelter in the heat of the steppe in summer. I saw this tree on a winter day when nature was covered with snow. The shadow of the mountain behind it narrowed towards this tree. When the shadow ended right where the tree was, a tree with a huge shadow emerged. The huge shadow of this small tree, which had endured all hardships, actually symbolized the strength of it. Maybe people give their children this name so that they will be individuals who will overcome the difficulties they will face in their lives and will bring relief to others in their shadow.

Mevsim_gecisi

This panoramic image, taken in the evening after a brief rain in Armenia's Vayots Dzor region showcases the stunning Arpa canyon, rich with wine-making tradition.

Palouse is a region in eastern Washington known for picturesque wheat farms and landscapes featuring rolling hills and colorful fields. I took this photo from the top of Steptoe mountain in the late afternoon light just before sunset.

Maharlo lake This is the Maharlo salt lake in Iran. In the summer season, due to the high evaporation of water and the high salt concentration, algae grows on the surface of the lake, which turns the color of the water red and creates a beautiful effect. Flamingos are walking on the surface of the lake

when the sunset arrives on desert, the last sunshines changes the colors and lights so magical like these.wonderful colors on dunes and sands

shanghai

A group of king penguins look out to the South Atlantic as grey skies indicate an incoming storm.

In the endless snow covered landscapes of Svalbard, a lone polar bear moves tirelessly across the Arctic wilderness. Its massive paws crunch softly against the cold snow as it searches for food, driven by an instinct as old as time. The vast, icy expanse stretches endlessly in all directions glaciers, frozen fjords, and shimmering ice fields—highlighting the immense scale of its environment. With each step, the polar bear embodies strength and survival in a changing world, navigating the vast, icy terrain alone but determined to persist.

A Grey Heron holding a newly caught a small fish.

flapping its wings against drought

In the heart of the desert night, a glowing scorpion traverses rippling sand dunes, its body lit in an eerie blue under ultraviolet light. The golden ridges, shaped by wind and shadow, contrast sharply with the creature’s luminous form, highlighting its secretive nocturnal world. This image symbolizes the hidden survival stories unfolding under darkness—where creatures adapt, navigate, and hunt when the world sleeps. It captures the silence, danger, and wonder of night life in extreme environments. The scorpion’s glow is both a warning and a marvel, reminding us of the unseen beauty and complexity that the night quietly protects.

The picture illustrates the moment when the striped hyena left after drinking water. Striped hyenas, which prefer to hunt at night, live in arid regions and travel long distances to find water after hunting.You never know what's going to happen next in nature, especially when shooting at night. The endangered striped hyena has a low appearance, but its fluffy fur and body contours can only be fully revealed through night photography. This photo aims to awaken humans to improve the living conditions of this fascinating wild animal.

This photo was taken during our safari in December 2019 in the Masai Mara NP. We were lucky that the cheetah with its cups was close to the road.

Early morning quarrel among cranes in Sweden, near the municipality of Skövde. The photo was taken in April, when cranes fly back to Sweden from warmer climates and begin their mating season. Their breath was clearly visible in the frosty morning air, rising from the sea of feathers.

A pair of damselfly continues in its love deed notwithstanding the summer rains.

Description: In this striking macro photograph, a Crab Spider asserts its dominance atop a blooming plant, capturing a honeybee in a moment frozen between life and death. The spider’s firm grasp around the bee, paired with its camouflaged stillness, tells a silent story of patience, precision, and raw survival instinct. A small fly rests unnoticed on the bee’s wing—an unintentional witness to this microcosmic battle—highlighting the intricate layers of nature’s food chain. The clean, golden background isolates the scene, allowing the viewer to focus on the tension and contrast between beauty and brutality. This image is not just about predation; it is a visual metaphor of power in silence, dominance in stillness, and strength in the smallest forms of life.

A silhouette of Lizard is full of dramatic and mystery.

This portfolio captures polar bears on the Arctic pack-ice highlighting the bond of the mother and cub and the playful antics of the cubs. Through these photographs, I highlight the tenderness and resilience of these magnificent creatures, fostering appreciation for their natural behavior and raising awareness about their fragile habitat.

A squirrel is caught mid-leap above a reflective water surface, clutching a nut in its mouth. The scene is serene and green, with a mirror-like reflection doubling the visual impact of the moment.

In the heart of Japan’s Jigokudani Snow Monkey Park, a young macaque sits motionless in the warm onsen waters, eyes closed, lost in serenity. Surrounded by rising mist and silence, this moment captures a rare glimpse of nature’s mindfulness — where even the wild finds peace in stillness.

It was a beautiful day on St Andrew's Bay in South Georgia, and there was so much going on wildlife-wise, from penguins to seals to amazing landscapes. These particular seal pups caught my eye (it is hard to imagine that the males can grow to be nearly 7 metres in length). The pups were play-fighting on the beach, which was adorable to see. I saw them as we were being herded to go back. Normally I’m very good at being on time for the Zodiac ride back to the ship, but this was such a fantastic photographic opportunity that I stayed as long as I could and was virtually being dragged back by my ankles!

This black and white fine art photograph features a lagoon inhabited by a group of flamingos. The scene is shrouded in fog, creating a soft and muted ambiance. The flamingos, with their long legs and necks, stand quietly in the water, adding a sense of calm to the composition. The monochromatic tones capture the details of their feathers and the tranquility of the lagoon environment.

State of Mind: The Theater of the Modern Mind dissects the fragmented psyche of contemporary society, offering a visual and satirical exploration of mental states shaped by consumerism, technology and social pressures. Each piece transforms the human head into a canvas filled with disturbing objects, symbolizing corruption, fear, addiction and isolation. Familiar forms like legos, gears, and balloons metaphorically expose the commodification of thought, the mechanization of the self, and emotional desolation. This collection confronts viewers with sharp yet poetic depictions that reflect the collision between personal agency and social manipulation. Through bold minimalism, selected colors and different arrangement, the series invites introspection and emotional resonance. State of Mind blurs the line between surrealism and reality, provoking critical reflection on the forces that shape our consciousness.

In the endless snow covered landscapes of Svalbard, a lone polar bear moves tirelessly across the Arctic wilderness. Its massive paws crunch softly against the cold snow as it searches for food, driven by an instinct as old as time. The vast, icy expanse stretches endlessly in all directions glaciers, frozen fjords, and shimmering ice fields—highlighting the immense scale of its environment. With each step, the polar bear embodies strength and survival in a changing world, navigating the vast, icy terrain alone but determined to persist.

”Dilemma, lull, Unleashing creative photography and performative photography project” The game of chess represents a separate world, a universe where the human appetite for play is shaped and reflected, for the manifestations of competition that extend from the physicalrealm to the metaphysical. It is a school, a workshop, a territory for experimentation, unfolding,and application of the qualities and performances of the mind. Chess brings together, in afascinating amalgam, strategic thinking and the execution of simultaneous plans, in real-time, reflecting a continuous collaboration with time, ethics, and the management of the meanders of the ego. From this perspective, chess can be viewed as a mirror bridge: an element that reflects and summarizes in a specular manner the faces and imaginations of the world and its multiple variations. At the same time, this mirror-bridge proposes a vision of the world, of worlds, and of various manifestations and interpretations. This context is the foundation for the generation of theartistic project Imago mundi - Dilemma, lull, Unleashing. The project is distinguished by acomplex artistic character, favoring creative photography and performative photography, accompanied by action arts such as performance, spectacle arts (pantomime), body art, and body painting (artistic make-up). The photograph is part of the first part of "IMAGO MUNDI" and is called "DILEMA". The dilemma is the sequence that illustrates and conceptually speculates on the one hand the conjugation of the human being and condition of the pairs/pairings of various antinomies or differentiations, respectively the aggregation together of black and white, and on the other hand the difficulty of the choice/decision/exit from this state and situation. LULL, is the second part of the theme "IMAGO MUNDI", LULL, illustrates the concord and cordiality of the union between black and white in the context of the prevalence of distinct identities and the installation in a competition that privileges the tolerance of the other and difference. UNLEASHING, is the third and last part of the photography theme "IMAGO MUNDI". The UNLEASHING sequence is the one that has the intervention of an attribute of evil/good manipulation, in the illustrative case being the appearance, insinuation and manipulative intervention of an evil spirit, which hides its identity and intentions under a mask that generates the disturbance of the portfolio of good and incites to transform the competition into a harmful and aggressive confrontation that ends in a combined disaster. The last photo image in the UNLEASH series, of the photography theme "IMAGO MUNDI", represents the two non-colors white and black that are often associated with opposite polarities. White is synonymous with purity and safety while black suggests mystery and the depth of the unknown. Together, they create a rich spectrum of shades, representing the complexity within human identities.

There is a close relationship between man and nature. A relationship that brings calmness to the human soul. Respecting nature is a prerequisite for this calmness. I wanted to illustrate this relationship and its interactions.

An old man, head bowed, walking the opposite way under a sky full of crows. The cold air, the silence, and the birds circling above evoke a sense of isolation and mental unrest. A poetic image of solitude — perhaps the crows are the shape of his unspoken thoughts.

These photos represent a scenario and a story that had preoccupied my mind for days. To be honest, I am not very interested in the aesthetic view of art. Quite the contrary, I am very passionate about the imaginative view, and I always try to make sure that there is a meaning behind my photos. Hence, in this project, I attempted to portray two parallel and simultaneous lives, the life of the fish and the life of the human. The first photos have an aesthetic view, but then the story begins, and the meaning starts to flow. Although this person behaves based on her own values and what she deems right or wrong, she harms others. Trying to be kind and unable to comprehend the reality, she hurts the fish, and only when she takes the hat off, is she able to see that it is dead. She realizes what she has done and feels deep sorrow and regret inside her, but she knows that nothing can bring the fish back to life again. This story represents the lives of many of us. At first, we all are innocent human beings who want to be helpful. We do what we believe is right, but, sadly, we do not have the slightest clue that we are walking in the wrong direction. The story behind this photo project is my own idea, and I am also the project's director and photographer. Besides, we are animal rights advocates, so we made sure that the fish used in the photo shoot would not be hurt, and It is now in a safe and proper aquarium.

eyes that speak volumes,silence that holds power.

Underwater shoot of a woman in Chinese hanfu swimming elegantly

The photo shows a flamingo flying over Lake Magadi in Kenya. Once a freshwater lake, it has become a highly concentrated salt pan that is severely alkaline and toxic to most plant and animal life – except for flamingos, which prefer to feed on the surface. The photo was praised but also highlighted the immeasurable impact of the climate crisis on the Rift Valley.

In a building marked by time, a dancer hovers between light and decay, rising like an echo of eternal beauty. The motion of the fabric, captured mid-flight, transforms the scene into a living painting where body and space tell the poetic power of lightness.

My project creates a powerful dialogue between light and shadow, deeply inspired by the great Baroque masters like Caravaggio, Rembrandt, and Reynolds. These artists skillfully used the interplay of light and darkness—chiaroscuro—to evoke beauty, drama, and a sense of theatricality. I aim to harness this technique to explore narratives about culture, identity, and the passage of time. Through this balance of illumination and shadow, I invite viewers into stories that speak to both personal and collective histories. My use of chiaroscuro lighting, combined with a deliberate focus on gaze and posture, draws heavily on the traditions of early portraiture. Like the Baroque painters, I strive to imbue my images with historical weight while anchoring them in contemporary realities. Each photograph becomes a conversation between past and present, blending classical aesthetics with modern perspectives. This fusion allows me to create a body of work that speaks to lineage while reflecting the fluidity of contemporary identity. At the heart of my work is an exploration of origins—where the convergence of tradition and transformation, East and West, and past and future takes shape. I see my photographs as a bridge between these elements, highlighting the timelessness of cultural heritage while celebrating its evolution. Through this interplay, I aim to create space for viewers to reflect on belonging, migration, and the ever-changing nature of identity. My work mirrors the duality of rootedness and adaptability, revealing the richness of cultural expression in flux. An integral aspect of my photography is the inclusion of contemporary Iranian fashion, which I use to celebrate the dynamism and elegance of my culture. The garments featured in my images are crafted from traditional fabrics and patterns that represent the diverse regions of Iran. These designs reflect a nomadic identity—fluid, adaptable, and constantly evolving. This theme resonates deeply with me, especially after my move to London. Migration has intensified my exploration of identity and allowed me to navigate the cultural landscapes of both Iran and the West. By merging these perspectives, I aim to highlight the fluid nature of identity while honoring the traditions that ground it.

In 2021 I was given a microscope in exchange for some IT work. This saw me delve into the world of microscopy. As a very keen photographer, I embarked on a microscope mission and bought a number of others, each better suited for photography than the last. I finally settled on a beautiful Leitz Orthoplan polarising microscope made in 1970. With the microscopes, I made and discovered a world of beautiful shapes and patterns in crystals made from household chemicals, including sweeteners, acids, and many other chemicals and compounds. The subjects, although only millimetres in dimension are all entirely real and physical things. Their endless permutation of shapes are created by the angle I have chosen for each crystal in the beam of polarised light. The addition of a wave plate produces a rainbow of colour. The scenes in my photographs are carefully discovered through a process of visually scanning through countless microscope slides, each coated with a variety of melted or evaporated substances. The actual photographed scene covers a tiny fraction of the area of the 75mm x 26mm slide which contains it. The resulting photographic finished works have no recognisable subject to hint at their scale. The result is a colourful vista of shape and pattern, eliciting a visual adventure, but intentionally leaving the viewer questioning what they are looking at. They must take it or leave it on this basis. Those familiar with my photographs are often forgiven for accidentally referring to them as my “paintings”. However they are not paintings. They are absolutely photographs of absolutely real subjects. Attaching my modern camera to my 55 year old microscope (a complicated and evolving process with much experimentation, trial and error) has allowed me to go far beyond macro, into the world of photomicrography, exploring and capturing a set of beautiful and captivating scenes. Many thousands of photographs later, I settled on a selection of 16 of these which were shown in a successful joint exhibition at Alveston Fine Art in London in March 2023. A further set of them was submitted to the IPA and I was very proud that they were awarded non professional Fine Art Photographer of the Year 2023, for which I was flown to New York to celebrate. I am very enthusiastic about my ongoing project to make photographs that continue to defy norms and expectations in contemporary photography, and show a unique and completely fresh perspective on the world. I also enjoy bringing to light a set of real subjects which are otherwise hidden, and are very difficult to find, see and photograph, but still absolutely real.

This photo was created using light painting technique.

Inspired by the lockdown imposed in Shanghai during the pandemic. In the prolonged isolation under political power and oppression, people's lives are disconnected from the outside world, each domestic space becomes their own world, and the connection between the living space and the isolated people is magnified as never before. The artist would like to explore the individual characteristics of people's domestic spaces and how they reflect people's identities. At the same time, he also hopes to motivate people to discover their true selves.

At first, the raw image is merely a visual record, but over time, meaning begins to emerge within it. An element that once seemed insignificant may now carry a deep emotional weight. A composition that was just a form may now conceal a narrative. Our minds, even without conscious awareness, make choices in the moment of capture, leaving behind an imprint. But this imprint is not always immediately legible. Sometimes, we need time to see it again, to understand it anew, and perhaps even to reconstruct it. Photographs are not just reflections of reality; they are starting points for a new dialogue with our subconscious. The mind creates the image, even when we have yet to understand what we were searching for.

In the city of Avilés (in northern Spain), a complex of modern buildings dedicated to Culture has been built and designed by the famous Brazilian architect Oscar Niemeyer.

I made this image in Sydney, drawn to the intersection of sculpture and structure—how a single curved form could frame an entire vertical skyline. As I stood beneath the yellow arc, the rising tower beyond it felt transformed. Not just a building anymore, but a gesture. A statement. I waited for the sun to position itself just behind the structure. When the light hit the sculpture’s edge and cast a clean silhouette against the sky, I saw balance—between softness and structure, expression and precision. That’s when I knew I had the frame. The building itself is pure geometry: linear, repeating, controlled. In contrast, the sculpture is fluid, playful, interrupting the grid with a circle that demands attention. But rather than compete, the two elements speak to each other. One rises, the other bends. One contains, the other opens. That contrast is what I wanted to explore. I composed this image not to document a place, but to reveal a moment of alignment—where light, form, and scale meet with quiet precision. The sculpture became a lens that redefined the architecture behind it. The city’s motion felt distilled into a single interaction of color, rhythm, and space. Axis of Intention is about those fleeting architectural moments when structure and vision converge—when the built environment invites us not just to look, but to look closer.

Porto Cruise Terminal is a small port complex, initiative of the Administração dos Portos do Douro e Leixões, located at the South jetty in Matosinhos, Portugal. The strategic definition of a new cruise terminal had a double objective: improvement of the commercial efficiency and a better urban integration. The main building shelters several programmatic components: cruise ship terminal, marina facilities, the Science and Technology Park of the Sea of the University of Porto, event rooms and a restaur

Photograph of the “Masaryčka” building in the city of Prague (Czech Republic).

L’Écho du Temps (The Echo of Time) captures the fleeting presence of people within France’s most historic spaces, where time stands still, yet humanity moves like ghosts through the centuries. Using long exposures, the series blends motion and stillness, exploring the relationship between architecture and those who pass through it. Each image reflects how history endures while lives blur into ephemeral traces—an endless dialogue between permanence and impermanence, past and present, memory and disappearance.

This series, "Sculpted Echoes," delves into the iconic architecture of the Guggenheim Museum Bilbao, capturing its dynamic and transformative relationship with light, texture, and the human element. Through this collection, the project aims to unveil the multifaceted personality of Frank Gehry's titanium masterpiece, presenting it not merely as a building, but as a living sculpture constantly reinterpreted by its environment and the gaze of its observer. Each photograph in "Sculpted Echoes" explores a distinct facet of the museum's design. The series highlights the intricate interplay of convex and concave forms, the seamless flow of its titanium and glass surfaces, and the captivating dance of reflections and shadows that shift with the day's light. From wide-angle compositions that embrace the building's monumental scale to intimate close-ups that reveal the mesmerizing textures of its titanium "scales," the collection invites viewers to experience the architecture from varied perspectives. "Sculpted Echoes" trying to reveal the inherent qualities of the Guggenheim Museum Bilbao. "Sculpted" acknowledges the building as a work of art in itself, meticulously shaped and formed, while "Echoes" refers to the repetitive, reflective nature - visual rhymes of its surfaces creating ever-changing patterns by its organic curves, and the lasting impression it leaves on the viewer. Through composition, light, and an appreciation for materiality, "Sculpted Echoes" strives to offer a fresh and immersive perspective on one of the world's most celebrated architectural achievements. It is a visual ode to innovation, form, and the enduring power of design.

Beneath the dome of Sultan Qaboos Grand Mosque in Muscat, a magical moment unfolds where light, geometry, and spirituality meet in pure harmony. Intricate Omani Islamic patterns flow with precise balance around a central golden chandelier, a beating heart reflecting a spirituality beyond the material. The dome is not merely a ceiling but a geometric cradle for visual meditation, where architectural details transform into expressions of faith and uniqueness. The colors of light and the movement of lines compose a silent poem that evokes spirituality and immerses the senses in eternal tranquility.

This place is a mosque.I noticed the pandemic period.I was amazed by its architecture and colors.I praye for the whole world here..

The picture taken inside Marina Bay Sands in Singapore that appears more like a modern piece of abstract art than a real shot of a detail of the roof, one could capture a unique perspective that emphasizes the architectural intricacies and artistic elements of the interior. The image could focus on the interplay of light and shadow, showcasing the geometric patterns, sleek lines, and innovative design features that define the space. By framing the shot creatively, one could highlight the fusion of form and function within the building, transforming a simple architectural detail into a visually captivating abstract composition. The photograph could evoke a sense of mystery and intrigue, inviting viewers to appreciate the beauty of Marina Bay Sands not just as a structural marvel but as a work of art in its own right.

Photos were taken at some old buildings in Tangier, Morocco and Warsaw, Poland. Both places captured my love of architecture.

This photo series offers a minimalist perspective on the distinctive architecture of Majara Hotel, located on Iran’s Hormuz Island—a project that boldly merges vivid colors and geometric forms with the raw beauty of the island’s natural landscape. In each frame, all visual noise is stripped away to allow the viewer to engage directly with architectural elements: surfaces, volumes, and edges that are sometimes simple, sometimes complex. The dominant colors—yellow, red, blue, and green—not only define the visual identity of the buildings but also create an energetic rhythm throughout the series. Yet perhaps the most consistent and unifying presence across the images is the sky. The deep, uninterrupted blue of the sky is not merely a backdrop, but an active compositional element. It heightens the clarity of each form, lending a sense of suspension and weightlessness to the structures, as if they are floating in a purified space. Throughout the series, the framing isolates the forms from their ground. These buildings appear not anchored to the earth, but suspended within a quiet, spatial abstraction. The absence of human figures or everyday details further reinforces this detachment, allowing the viewer to encounter architecture in its purest visual language. What emerges is not a narrative of function, but a visual meditation on form. The Majara Hotel reveals itself not just as a place to stay, but as a sculptural presence—an architectural experiment resting between color, silence, and sky.

“All Roads Lead to Milan” is a photographic journey through the main access routes of a city in constant evolution. Milan, if you look closely, is a small city. Its beating heart is not limited to the elegant streets of the center, it is also defined – and perhaps above all – by what surrounds it. The project explores its outer edges: those roads and ring roads that once marked the border between the countryside and the metropolis, and which now act as gateways to uncertain and often fragmented urban realities. These are not just transit routes, but symbolic frontiers where identities change and the true complexity of the city emerges. Through the contrasts between futuristic developments and abandoned structures, elegant shopping centers and abandoned sidewalks, the images trace a melancholic, ironic Milan far from the glossy stereotype of the fashion capital. This work is both a visual investigation and a personal reflection on urban transformation: an invitation to reflect on what the edges of a city reveal about its heart.

The photo was taken in United Arab Emirates May 2017 using my Nikon D7100 camera and 18-300mm to show the famous Islamic art of the grand mosque

This story about people who fallen into a difficult life situation. People who don't give up and find opportunity for a full life. Surgeries, rehabilitation, depression and despair led them to the search for another ways and other meaning for life in new circumstances. The top of the self-sacrificing desire to conquer the tragic situation for them becomes a playing in basketball. For people who braving itself and who coming to the sports ground to fight and win it’s a kind of challenge to fate. That history of basketball players, athletes from Russian basketball teams which I got acquainted on the All-Russian tournament of Wheelchair Basketball, in Tyumen city (Siberia, Russia) in 2018-2023. The project is completed, examples of work can be found here:https://sport.photographer.ru/wheelchair-basketball?lang=eng

In 1983, Nguyen Ngoc Hung was the valedictorian of Quy Nhon Pedagogical University, Vietnam. Then he suffered from progressive muscular atrophy, paralysis of the whole body, and had to quit his job. After seeking treatment everywhere without success, his mother passed away due to grief over her son's illness. In 1988, Mr. Xuan Anh and Mrs. Thu Ha, a couple in Cho Chua town, Nghia Hanh district, Quang Ngai province, were Hung's classmates and have taken care of him for nearly 37 years. It was this wonderful care and nurturing that kept Nguyen Ngoc Hung in this life. Every day on his sickbed, he held a pen in his cramped fingers and "whispered" to poetry like a soul mate. To date, Nguyen Ngoc Hung poet has published more than 10 poetry collections and won many domestic awards; and international award for poetry for the disabled. His willpower and thirst for life are a mirror for many people.The friendship of the Ngoc Hung - Xuan Anh - Thu Ha is a fairy tale of modern! Photo 1: The living and creative space of Nguyen Ngoc Hung poet in a room of about 20 square meters at the house of Mr. Xuan Anh - Mrs. Thu Ha in Cho Chua town, Nghia Hanh district, Quang Ngai province, Vietnam. Photo 2: Nguyen Ngoc Hung poet has progressive muscular atrophy that paralyzes his entire body. All his activities are in bed. However, he still perseveres in stretching his limbs four times a day, despite the difficulty. Photo 3: Every time he wants to sit, Hung's legs have to be tied to the table legs to maintain balance, his body is as stiff as a wooden board. Photo 4: Every time Mr. Xuan Anh’s nephew-in-law carried Nguyen Ngoc Hung out to the yard to bathe, joy and happiness appeared on his face. Hung said, This is my happy moment because I get to see and approach life. Photo 5: For Nguyen Ngoc Hung, poetry is the reason for living, the choice to survive. He always struggles, thinks within his limited space, creates poetry to define his existence. Photo 6: A daily meal of a family of 3 friends, Mr. and Mrs. Xuan Anh-Thu Ha and Nguyen Ngoc Hung poet. Photo 7: Mrs Thu Ha and her husband have been raising Nguyen Ngoc Hung for nearly 37 years, and for the same amount of time, she is the first people to whom Nguyen Ngoc Hung shared his new poems before they reached the readers.

Alzheimer’s disease is a progressive brain disorder that impairs memory, thinking, and behavior. Patients often hold onto memories from their childhood. As the disease advances, short-term memory fades first, causing patients to forget recent events while older memories—such as those from childhood—linger longer. This leads patients to frequently speak about and cling to their earliest memories. The wife of an Alzheimer’s patient faces daily challenges but approaches his care with love and patience. Love remains present in every moment, giving her strength to face the difficulties imposed by the disease, proving that love can overcome all obstacles.

This photo was taken in a workshop that produces olive oil soap using traditional methods in Gaziantep/ Turkey. Olive oil and chemicals are mixed in large barrels and then poured onto the workshop floor to dry. It is then cut into bar-shaped pieces, marked by hand, and then those bars are stacked into neat towers by workers

Twenty years after the eruption of the Darfur war, history tragically repeated itself. Millions were once again forced to flee their villages—many seeking refuge in neighboring Chad. By 2023, after two decades of displacement and struggle, there was a fragile sense of hope. Communities had begun returning to their homelands, rebuilding what they had lost. But in April 2024, a new war engulfed Sudan, triggering one of the largest humanitarian crises in recent memory. Over 14 million people have been displaced—many of them for the second time in their lives. For the people of Darfur, the pain is generational. Those who fled as children in 2003 are now adults fleeing once again, carrying their own children across the same borders into Chad. This ongoing conflict is among the most overlooked in the world today. Chad, already stretched thin, is now hosting more than 700,000 Sudanese refugees in towns and makeshift settlements near the border communities struggling to survive in the face of global indifference. As a Sudanese from Darfur, experiencing the horrors of war and displacement firsthand has been deeply painful. When the conflict erupted, I was living in Khartoum. I was forced to flee like millions of others. leaving behind a life I had built in search of safety. Throughout this journey, I turned to photography as a tool of resistance and testimony. It became my way of advocating, of shedding light on the immense humanitarian cost of war in Sudan. Through this project, I travel to refugee camps in Chad, places now home to more than 700,000 Sudanese who have been largely forgotten amid global crises and shrinking humanitarian aid. This work is both personal and political. I carry my camera not only to document, but to search for friends and family scattered across these camps, to reconnect, to listen, and to give voice to those enduring their second displacement. This is a journey of memory, loss, and resilience. And it is a call to not look away.

tumble

patience come to an end Ayuob ... It has not been running since the fall of '2019. Ayoub's patience peaked one day. Not because his right was kicked out. Because they stole the gold from the neck of Iran. Ayuob won the Jakarta Para-Asian 2018 quota in the overseas tournament but was not sent to the tournament. The federation withdrew its quota of 400 meters and handed it over to a weightlifter. They thanked Job for the quota and said that according to the calculations, if we send you, you will be sixth, but if we send that launcher, he will get gold. Good bye! Ayuob also said, God willing. He closed his mouth and said goodbye to Tehran. At his father's house, he turned on the TV, but he saw that, ironically, the opposite had happened. The athlete who consumed Ayuob's quota finished sixth in weightlifting, and the runner-up record for the gold medal in the 400m was just two seconds better than Ayuob's last record two months before the start of the Jakarta Games. AC Milan have been sidelined for five years. Twice he became the country's sprint champion for the blind and visually impaired, putting himself on the brink of Asian gold while having no job or income. Instead of all that he did not have, Ayuob saw Torab Farzinia as his mentor, friend and brother, in addition to Peykan with the knowledge of Torab who ran after him and sweated. Torab is the chairman of the Chaldoran Athletics Board, but does not sit at the table. He says that if Ayuob only has a stable job and income and does not falter for a living, he will hunt for the 2021 Olympic gold medal for Iran. Whoever runs at the height of Azerbaijan, especially Chaldoran, is automatically 2 seconds ahead of all competitors. As a child, Job contracted a rare disease, and doctors removed his right eye to protect his left eye. The left eye has 50% vision. The day he was disappointed after three months in Tehran and training, he knew he should not tell the truth. When he reached Chaldoran, at the height of his honor, he told a bitter lie to the children of the neighborhoods and his parents. He said that the selection competitions were canceled because he could not look them in the eye and tell how the years of hard work and his inalienable right were trampled. But anyone who looked into Job's eyes, especially at the sparkle in his eyes, realized that this was not the truth. Job is only 25 years old, but he has committed a great sin because he has run away from the federation and the Ministry of Sports. Ayoub the frontiersman, despite the disability border, has now drawn a border of humanity for himself.

In the Syrian countryside of Idlib, amidst the ruins of their bombed-out home, a peace musician plays gentle melodies to help people forget the sounds of shelling. Despite the roar of fighter jets overhead and the echoes of clashes nearby, families gather and sing with their children: 'How beautiful it is to live in peace and safety.' A powerful scene of resilience and hope in the face of war.

A traditional ceremony in the Zagros region that is held after the death of an important and great figure in that region. According to this tradition, the mourner wears black clothes, places a piece of black cloth around their neck, wears flowers, cuts their hair, and ties it around their wrists.

"In the darkness of night, a small fishing boat floats beside a large industrial trawler. This photo captures the silent yet intense struggle of an individual fisherman facing the overwhelming force of commercial fishing. Alone on the vast sea, he casts not just his net, but his labor, hope, and resilience. It is a powerful portrayal of the fight for survival in small-scale fishing — as real and unforgiving as the waves themselves."

Zayandeh Rood is known as the largest river and permanent water flow in the central region of Iran. Unfortunately, in 2002, due to wrong decisions and dam construction, this river lost its permanent flow. Currently, Zayandeh Rood is only reopened twice a year for farmers upstream of Zayandeh Rood. When Zayandeh Rood is reopened, people come to welcome the flow of the river and sing and dance.

Turkmen women in Jargalan, Iran, sometimes work together for more than 14 hours a day weaving carpets, helping support their families' economies, although carpet dealers make the most of the profits.

In the Mekong Delta, women often wash water lilies they've harvested from the waterways. This is a common practice, as the lilies are used for both decoration and as an ingredient in local dishes, particularly in hot pots and other cooked meals. The lilies are typically washed to remove any dirt or debris before being sold at markets.

The Paschal mystery of death and resurrection, of absence and emergence, is echoed in this diffuse, uncertain light, in these ghostly forms, in these suspended moments. Fog, like faith, doesn't show, it suggests! It forces us to move forward in uncertainty, to believe in what we can only guess at. Between the visible and the invisible. Between the here and the beyond. Two languages to speak of the same mystery. Passion, in this hushed theatre, is not shouted out, it is guessed at. What faith and fog have in common is that they veil as much as they reveal.
They force us to see differently, to read between the shapes, to feel more than to understand. A journey between what faith exposes and what the fog conceals. Because sometimes, it's not what you see that shakes you up. It's what we no longer see. In this work, I try to explore the links between the visible and the invisible, the urban and the sacred, the real and the symbolic, paying particular attention to the atmosphere, the rhythm of bodies and the poetry of places. Between religious celebration and misty wanderings.

Afghan woman, Goljan Tajik, mother of three boys and a girl was violated by acid attack by her husband on May 18, 2022 in Shahriar, a small city around Tehran in Iran. When Taliban returned to power in Afghanistan in 2021, she disagreed with her husband’s insistence to live in Afghanistan and offer their children into Taliban's service, so he threw acid on her when she was asleep and left her and children alone returning to Afghanistan.

This is the story of a group of young Iranian boys under the age of 16. They have big dreams of becoming boxers. Most of the boys have dropped out of school and live lives full of uncertainty and instability. They have left school, work during the day, and dedicate all their time after work to boxing and nothing else. They work hard to fulfill their dreams. Some of them have family support, but most do not. Soleiman and Mohammad Ali are two of them. (Last year, Soleiman received a full scholarship from one of the largest Kickboxing institutions, but his father didn’t agree due to the family’s financial struggles.) Through boxing, they overcome their fears, though those fears remain with them after the fight ends. They believe that boxing is an opportunity to escape a hopeless future. In this project, I wanted to showcase the true essence of kickboxing in young people, which is dedication, passion, fighting spirit, and courage.

Dusty Ride; A fantastic view in the dust cloud at sunset on the slopes of the mount Nemrut.The little shepherd leads them like an orchestra conductor.

A female worker named Fatemeh Amiri, who works in a charcoal factory, is forced to work in the charcoal kilns for eight to ten hours a day in addition to her work at home to make a living.

Simple shape.Silent frame

The concept behind the image is deeply metaphorical, likely addressing themes of the power of words, online communication, cyberbullying, or the potential harm caused by speech. The fusion of a weapon and digital communication elements suggests that language, when misused, can be as destructive as physical violence. The surreal nature of the artwork challenges the viewer to reflect on the responsibility that comes with words, emphasizing that they can be used to heal, inspire, or, conversely, to harm and destroy. This striking and symbolic visual serves as a stark reminder of the weight and consequences of our expressions, particularly in the digital age.

The giraffe and the acacia tree, two elements with a strong African character, make up a minimalist picture.

A simple and beautiful image of a crane was captured against a background of pure white snow.

The reeds in the local lake, captured on a serene morning with still air and a delicate veil of mist.

This image attempts to reflect resilience, the capacity of human beings to adapt to a disturbing agent or an adverse state or situation.

A woman next to Beaux-Arts Museum in Lausanne, Switzerland. She wanted to smoke a cigarette but the weather was very windy that day so she had to hide between two walls. This photo shows the exact moment when she lit her cigarette.

There are still a large number of World War II bunkers on the Danish North Sea coast. However, some of them are slowly being swallowed up by the sea.

white horse

StreetMax 21” attempts an other-worldly street scene designed to illustrate a boundary between the real and virtual worlds. By waiting, often for long periods, for the right organic distribution of people, he makes photographs which appear fictitious and constructed but are nonetheless shot in real time. Non-speaking city dwellers are spatially arranged as if carefully directed. They appear as ciphers preconditioned to act like self-absorbed passersby, connected by no means other than where they were when the photograph was taken. Conceptually, these are simple recordings of people walking with undisclosed purpose, isolated in seemingly choreographed but otherwise uninteresting tableaux. Over a span of recent years, by making a real city look like a science fictional one, "StreetMax 21" marks a time when we began to question what was and wasn't human.

Photo Details Title: From Salute to Cheers Date: 2 November 2024 Location: Old Shades Pub, Westminster, London Camera: LEICA Q Lens: Summilux 28mm f/1.7 Asph lens. I was walking through Westminster when I happened upon the scene. Seeing the young submariners together in such a relaxed, unguarded moment drew me in. It was as though the weight of their morning obligations had been lifted, replaced by the simple joy of friendship and shared experience. This image captures something deeply human — the need for connection after moments of reflection and duty. Just hours earlier, these young submariners had marched with solemnity and precision, paying tribute to those who had gone before them. The shift from ceremony to celebration was palpable. The removal of formalities gave way to authentic, unguarded moments of laughter, storytelling, and shared reflection. The clinking of pints, the warmth of friendship, and the glow of pride in service filled the air.

This photo was taken in July 2025 in Berlin at the James Simon Gallery. I saw the boy walking up the stairs and quickly ran over and positioned myself in a good spot, hoping he would also walk down again. In the end he didn't walk back down but instead playfully jumped back down and I also managed to capture him in the right split-second, which created this unique moment which I will never be able to repeat.

This project is a visual narrative of the lived experience of Iranian women under a regime that restricts freedom. The city walls—seemingly lifeless—become, in my photographs, a stage for a silent dialogue between repression and dreams, coercion and hope. These images were captured in the streets of various cities across Iran, where graffiti and street murals—with all their symbolic and political weight—form the emotional and visual backdrop of the story. In the moment of the woman's encounter with the wall, a suspended tension unfolds—a struggle between suppression and the longing for liberation. In each frame, a woman is seen striving for freedom: sometimes holding a cage, sometimes carrying the shadow of a bird on her shoulder, sometimes with a veiled face, or trapped behind red lines. A bird separating from a headscarf or a cage held in her hands are metaphors for women yearning to be free, yet confined within political, legal, and cultural structures. The contrast in form and color, the stillness of the wall against the persistence of the woman, and the presence of symbols like "No Entry" signs or bloody handprints—all reflect the duality of existence: between who we are and who we must be, between desire and the inability to express it. This duality, present throughout the series, is rooted in the compulsions imposed on Iranian women—restrictions that limit not only their appearance, but their movement, voice, and dreams. Cries Behind the Wall is an invitation to look beyond the barriers; to see where the Iranian woman still stands, still sees, and still dreams of flying—even when her wings are only painted on a wall.

Photo was taken in Maastricht ,The Netherlands

shadows in Uzbekistan

In the vast, bustling city of Cologne, Germany, a lone beggar stands silently on the sidewalk. Around her, the world rushes by—people immersed in their daily lives, unaware of her presence or her need. Amid the city's noise and hurried pace, she appears small and abandoned, like a shadow unseen by anyone. The image tells a story of loneliness and invisibility in the heart of the crowd, where her voice is lost in the relentless clamor of the world.

In the heart of Jodhpur's blue walls, an old woman sits in stillness, her eyes fixed on a young plant. As new life grows before her, she reflects on the passing of her own — a quiet moment where youth and age silently meet. Beautiful contrast.

Re:Vision is a visual meditation on reflection - not only in water, glass, and shadow, but in perception itself. This series of seven images captures moments where the world turns inward: canals become mirrors, umbrellas bloom in puddles, and colors dissolve into abstraction. Each photograph invites the viewer to question what is real and what is reversed - what is seen, and what is sensed. Shot both on film and digital, and inspired by the beauty of cityscapes, these images explore stillness, symmetry, and the fragile boundary between reality and its echo.

The photo was taken in Turkey 2023 using my Nikon D750 camera and 28-300 MM lens showing crash of ice from a roof of a Turkish restaurant while some guest were sitting outside around a fired woods.

Horses that only have a recreational and entertaining aspect for humans and are tied in corners with ropes. Horses that once symbolized strength, speed, work and courage. A horse that came after his mare

A man running next to Lake Constance in Bregenz, Austria.

This photojournalistic entry documents the ongoing war on Gaza that erupted in October 2023 and continues to this day. Through a series of powerful images, it bears witness to a systematic campaign of destruction and erasure targeting a civilian population. Each photograph stands as a visual testimony of genocide in progress: the suffocating plumes of bombardment, families walking through ruins, children torn apart in their parents’ arms, and starving faces trying to survive on scraps in makeshift shelters. In the midst of all this horror, some still find the strength to pray kneeling on the rubble where their homes once stood. This is not just a war. It is the deliberate annihilation of a people physically, emotionally, and structurally. These images are not symbolic; they are factual records of ongoing crimes. They do not ask for pity, but for recognition, accountability, and truth. Gaza is not a headline. Gaza is a witness.

The first action of a horse in Iran.

On February 6, 2023, two major earthquakes struck Turkey, completely destroying one shopping center and four apartment buildings in the city of Diyarbakir. One of the completely collapsed apartment buildings was the seven-story Hişam apartment building seen in the photo. The photo shows rescue efforts conducted on the first day of the earthquake at the site where 100 people were killed and 32 were rescued injured.

In one of the most harrowing images of the rescue, a man floats exhausted in the sea, on the verge of collapse, after jumping into the water out of fear of being returned to Libya. The Libyan Coast Guard had just appeared, and panic spread across the boat. He was one of six who jumped without hesitation. The Open Arms team reacted immediately, deploying rescue equipment to save them all.

This photo depicts Mud People Festival in Aliaga, Nueva Ecija, Philippines on June 24, 2018. Devotees dressed in dry banana leaves and covered their bodies with mud from the rice fields then attended a Holy Mass. This religious ritual is commemorated to pay homage to their patron, Saint John the Baptist. According to a local legend, the Japanese soldiers were about to execute the villagers of Aliaga during World War II. But in the midst of downpour, Japanese soldiers suddenly changed their minds. Afterwards, the villagers celebrated by rolling around the muddy ground. They believed that being saved from the execution was a miracle of Saint John the Baptist.

This photo series documents the living tradition of Sufism in the mountainous region of Iranian Kurdistan, where spiritual rituals are deeply embedded in the rhythm of daily life. Known for their devotion, discipline, and mysticism, Kurdish Sufi dervishes of the Qadiriyya order gather regularly in remote villages, mosques, and khanqahs (Sufi lodges) to perform ancient rites passed down through generations. The series captures moments from two key aspects of this living heritage: the Zikr-e-Qiyam, a standing remembrance ceremony in which dervishes sway rhythmically while chanting the names of God, and Safar-e-Irshadi, spiritual journeys undertaken by groups of dervishes to visit fellow seekers across the region. These rituals serve both as inner purification and social bonding, and they have helped preserve the fabric of Kurdish spiritual culture despite modern pressures and political constraints. In documenting these scenes, I sought to portray not only the religious ceremony, but also the human intimacy, humility, and emotional depth within the faces and gestures of the participants. These images were taken over multiple years, with the trust of local communities. This body of work contributes to the broader visual archive of endangered spiritual practices in the Middle East, offering a rare glimpse into a world of devotion that often goes unseen by outsiders. It highlights how the Kurdish people have preserved a unique blend of Islamic mysticism, indigenous beliefs, and communal unity through ritual. Through this series, I hope to foster appreciation and dialogue around the role of spirituality, tradition, and resilience in the Kurdish context, while also documenting a practice that continues to inspire a sense of peace, unity, and transcendence.

basın

Over the past few years, tens of thousands of migratory birds have died in the Miankaleh Wetland in northern Iran for unknown reasons, and this is part of the efforts of environmental forces to prevent the spread of disease in the wetland.

The suspicious deaths of thousands of migratory birds in the Miankaleh Wetland area in northern Iran have raised concerns among local residents and environmentalists. The cause of death remains unknown, and various rumors have circulated, including bird flu, botulism, sewage, poisoned prey, and toxins used by hunters, as possible explanations for their demise.

We leveled the mountains We cut down the trees We dried up the rivers We have destroyed our sources of life We pressed the key to the extinction of the human race We are historical criminals

roots of the soil

Although this is actually an irrigable land, it became dehydrated due to the decrease in the water level as a result of excessive water use. The vehicle, which has deep well drilling equipment, is about to start work to dig a new and deeper well on the land below, which has become ineffective. We must have water for a healthy future with conscious agriculture.​

With the sunrise and the beginning of life, the sheep that had come to live but the people had left no place to live. Which place was wrong?

"This single aerial image captures the fragile beauty of Maharloo Lake’s entrance in Shiraz, where vibrant natural hues collide with signs of ecological distress. Once a safe haven for birds and wildlife, the area now bears visible traces of pollution. The photograph stands as both a visual marvel and a quiet warning about the environmental cost of human impact."

Once upon a time, there was water here. People strolled by the shore, children ran, the salt shimmered under the sun, and life smelled like the sea. But the years passed. We built dams, cut rivers, drained the land, and learned how to close our eyes. Now, people come back not to swim, not to rest but to witness what’s no longer there. The figures in my photographs walk, not to arrive, but perhaps to understand. Or maybe, just not to forget what their own hands helped erase. I captured these images in moments where silence spoke louder than any protest. I saw people wandering among salt and dust, searching for a lake that no longer exists. And in their search, they seemed to be looking for themselves. This series is not merely about environmental loss. It is about human loss a forgetting of balance, of responsibility, of presence. " From Life to Memory " is an invitation to pause, to reflect, and maybe to return to the beginning with eyes open this time. " From Life to Memory " is a meditation on memory and emptiness, on the fragile boundary between what was, what is, and what may never return.

The relationship between man and tree, and the presence of trees at all levels of the human mind and life, is so ancient and colorful that it has found an archetypal place. The presence of plants, and especially trees, in most myths related to creation is a sign of this fundamental relationship. Adam and Eve’s contact with the “forbidden tree” was the beginning of rebellion, fall, and knowledge. The beginning of a rich experience and understanding. Buddha came to truth in the shade of a tree, and in Sohrab’s poem, the address of the “friend’s house” was known as a child who had climbed a tall “pine.” It is as if man, consciously and unconsciously, is somehow linked to the image of a tree in many of his magical and philosophical antonyms. Among all ancient peoples, trees have been sacred beings, and some trees are more sacred. In Iranian culture, the “plane tree” and the “cypress” have been held in higher esteem.In most of our religious places there is at least one plane tree, and look at the role of the cypress in our literature and visual arts. In fact, in the days of helplessness and unresponsiveness of early humans in the face of the horrors of the world and nature, trees were merciful gods who guaranteed the prosperity of agriculture and labor, the ease of procreation, and brought us sunshine and rain. Thus, trees have been and are everywhere in our lives; from our home gardens and living environments to our beliefs, memories, rituals, mythology, religion, literature, and philosophy. Even today, traces of the powerful presence of this element in the rituals related to Nowruz, marriage, and childbirth in most cultures of the world are evident. We still attribute the fulfillment of our wishes to trees.But it seems that in the era of civilization, in the era of our shameless domination over trees, water, and soil, as evidenced by the toxic air, polluted waters, and thin forests around us, we have never been the merciful gods that the trees were to us. “Mehtab Nematollahi”

This photo series, taken in the deserts of the UAE, highlights the vital role of preserving vegetation in arid environments. Drought-resistant plants help prevent soil erosion, stabilize sand movement, and act as natural barriers against airborne dust and particulate matter. In recent years, the UAE has launched several environmental initiatives — including the planting of native species and soil stabilization projects — aimed at improving air quality and combating desertification. These efforts are part of a broader response to the growing dust crisis across the Middle East, a challenge worsened by climate change and water scarcity. Through these images, I aim to draw attention to the ecological importance of desert vegetation and its role in supporting environmental stability and public health.

Composed of several aerial shots this work shows one example of the wonderful world at Iceland's Highlands: In a valley, grooves and rivers intertwine, shaping the land into majestic forms, symbolizing resilience and interconnectedness. Rivulets, streams and brooks seemingly run over and under each other, crossing, parting and melting again.

South Asia's largest Eid-ul-Fitr Congregation held in Gor-e-Shahid Boro Math, Dinajpur, Bangladesh. According to the organizers' claim, over 600,000 devotees participated in this Eid congregation. The prayers began at 8:30 am with devotees coming from different parts of the region. Eid-ul-Fitr is a Muslim festival of happiness celebrated all over the world.

In Xiapu, China, fish traps and mudflaps are integral to the unique coastal landscape and the lives of its fishermen. The mudflats, known for their picturesque scenery, are utilized by fishermen who employ bamboo poles, fishing nets, and stone columns to dry their catch and create striking visual patterns.

The Earth Remembers Photographed from 12,000 meters above sea level on a flight from Dubai to Tehran, this haunting aerial view reveals the scarred veins of a land that once pulsed with life. These are not just rivers they are fossils of forgotten waters, carved into the Earth’s skin like the memory of a planet that is quietly dying. Climate change is no longer a future threat; it is a present catastrophe. Rivers dry before our eyes. Forests burn into dust. Habitats vanish. We are not losing landscapes we are losing our lifelines. But there is still a choice. Rewilding dry lands, restoring wetlands, and protecting every remaining drop of water can reverse the damage if we act now. Let this image be our wake-up call. The Earth remembers what we forget.

A photos was taken from Wilayat Bediyah, located in the north of Sharqiya Region, about 195 km away from Muscat Governorate. This spectacular Wilayat embraces' many large Oasis and sand dunes that considered a vived and vital spot of camping in the Sultanates. It extend over approximately 10, 000 square kilometers

This aerial image captures a moment from the Wari, the renowned annual pilgrimage in Maharashtra, India. Thousands of Warkaris (devotees) are seen gathered in a perfectly circular formation, all dressed predominantly in white traditional attire. At the center lies a sacred palanquin (palkhi), likely carrying the symbolic representation of Sant Tukaram or Sant Dnyaneshwar. The symmetry and discipline of the gathering reflect deep devotion, unity, and the centuries-old tradition of the Wari, which celebrates collective faith, equality, and spiritual harmony. The vibrant yet orderly scene is a testament to Maharashtra’s rich cultural and religious heritage.

"This aerial photo series captures the entrance of Lake Maharloo in Shiraz, Iran — a once-thriving bird habitat now visibly scarred by environmental pollution. Through a drone's eye, the contrast between natural beauty and ecological damage creates hauntingly stunning visuals that tell a deeper story of neglect and fragility in nature."

We came across this humpback mother and calf (Megaptera novaeangliae) in Baja California, Mexico, travelling very slowly and calmly. Conditions were perfect to launch my drone, and it was amazing to get such a clear perspective in such gorgeous blue water. I don’t often shoot from straight overhead, but this photo shows the scale – a tiny calf against its mother – and it was lucky that both were at the surface together (normally it’s just one or the other). No permit required.

Maharlo lake This is the Maharlo salt lake in Iran. In the summer season, due to the high evaporation of water and the high salt concentration, algae grows on the surface of the lake, which turns the color of the water red and creates a beautiful effect. Flamingos are walking on the surface of the lake

A drone shot in winter over a snow-covered island in the Baltic sea.

drought

Harvest season has arrived and farmers are collecting watermelons and removing their seeds.

Perched dramatically on the edge of a sheer cliff, Bhutan’s Taktsang Monastery – famously known as Tiger’s Nest – appears almost suspended between earth and sky. This breathtaking aerial view reveals not just a sacred pilgrimage site, but an architectural marvel, defying gravity and time. Taktsang’s impossible placement and spiritual serenity speak to Bhutan’s deep reverence for nature, faith and craftsmanship.

Muslim worshippers performing Friday prayers atop a floating bridge, with a polluted river flowing beneath. The image contrasts spiritual devotion with the harsh reality of environmental degradation, symbolizing resilience amidst crisis. The river’s dark, contaminated waters highlight the urgent need for ecological awareness whereas the scene blends faith and nature.

This awe-inspiring photograph captures a waterfall plunging into a stratified canyon, with its vibrant red and earthy tones narrating the geological history of the land. Beyond its visual splendor, this scene highlights the interconnectedness of water and wetland ecosystems. Wetlands, often found downstream of such water sources, are vital ecological treasures. They act as natural water filters, trapping sediments and pollutants, ensuring the purity of rivers and groundwater. Additionally, wetlands are crucial carbon sinks, helping to mitigate climate change, and they support a vast array of biodiversity, providing habitat for countless species. This image serves as a reminder of the critical importance of wetlands in sustaining life and regulating natural systems. The waterfall symbolizes the lifeblood of these ecosystems, nourishing and shaping the landscapes that depend on it. A testament to nature’s resilience and the delicate balance it maintains.

This photo taken during start of Sunset just in the middle of Lofoten Islands in Norway.

There are places where the world softens, and noise becomes memory. Where time no longer chases itself in circles— it simply pauses. I found such a place at the edge of a still lake. A dry, reaching branch breaks the sky, while the water below remains untouched, untroubled— a perfect mirror for stillness itself. In the distance, a small family of geese moves without urgency. They glide, not to arrive, but simply to be. This photograph is not about action. It’s about presence. It’s about listening to what the silence has to say. The lake says: There is beauty in restraint. There is power in quiet. And even in a world full of constant motion, stillness is not a weakness— it is a kind of truth. Through my lens, I try not just to capture the visible, but the invisible pauses in between: the breath between waves, the silence between birdcalls, the space between us and nature. On World Camera Day, this is the image I offer. Not a spectacle, but a whisper. Not a shout, but a breath. A still moment in a loud world.

An old man stares out the bus window on a rainy day.

I was at Bells Beach with friends during a practice day for the Pro Surf competition and was taking a photo of them in front of this iconic Australian beach. This polite young surfer waited and checked I had finished my photos before descending the stairs to the beach below. When I looked down shortly after, this is what I saw. This surfer, alone with their thoughts and their surfboard, leaving a perfect trail of footprints behind him. The line they walked dividing the energy of the waves and foam from the stillness of the sand on the upper beach. In this moment, though regretting not having my camera with me, I knew I needed to capture this. I reached for my phone as quickly as I could. While this surfer's footprints were gone with the next tide, the beauty of being in the moment – and using the camera I had - means they have a little more permanence.

People gather in the fish market, auctioning off the death of dead fish just to keep themselves alive...

Inside a modest tent in Esfarayen, North Khorasan, a quiet yet powerful scene unfolds—captured through the reflection of a child gazing into a mirror, lost in thought. Around her, the simplicity of rural life is evident: a young boy and a woman, her mother, stand nearby with a warm, knowing smile. The tent's worn fabric and the earthy ground beneath it speak of resilience, while the mirror frames a fleeting moment of innocence amid everyday life.

In this monochromatic composition, the viewer is pulled into a moment of reflective confrontation. The photograph, taken directly outside the Churchill War Rooms in London, stages a visual dialogue between past and present, between legacy and introspection. At first glance, we see the back of a solitary figure in a white shirt and wide-brimmed hat, standing still between two neoclassical buildings. The alignment is deliberate—the person’s head positioned precisely beneath the statue of Winston Churchill, the wartime leader immortalized in bronze. The figure is not merely looking up at Churchill, but rather becomes a proxy for the viewer, standing in the shadow of leadership, burden, and historical consequence. Shot in black and white, the image eliminates the distraction of color to amplify its symbolic weight. The stairs rising on both sides echo the architecture of power, reinforcing a mood of reverence but also of inquiry. Who leads, and who follows? Who carries memory, and who challenges it? The photograph was taken at the threshold of Churchill’s War Rooms—once a hidden hub of wartime decision-making, now a museum of collective memory. In this context, the photo reads like a visual echo of that underground urgency. The sky, stormy yet open, mirrors the uncertainty of decisions once made within those walls. “Facing Churchill” is not just a portrait of a place, but of an encounter. It captures that fleeting moment when we, the living, meet history not as static facts, but as unresolved questions. By placing a modern-day figure in front of an iconic symbol of British history, the image invites viewers to reconsider the nature of legacy. What do we inherit from our leaders, and what weight do their decisions still press upon our lives? In an era where history is often simplified or politicized, this photograph resists such reduction. It reminds us that looking at the past is not passive. It’s a stance, a gaze, a confrontation.

Captured through the glass of an underwater enclosure using a mobile phone, this image offers a rare and intimate glimpse of a hippopotamus in its aquatic element. The clarity, gentle light diffusion, and eye-level perspective reveal the peaceful power of one of nature’s most formidable creatures. Shot handheld, this moment highlights the unexpected artistry possible with mobile photography when timing and composition align

From the very first breath to the final exhale, our only true possession is solitude. And the greatest misfortune on this one-way journey is the rare chance to share that solitude with souls who give it meaning only to leave too soon, leaving you behind with a heavier, deeper silence to bear.

After heavy rains, a child crosses the street to inspect the goods he left on the sidewalk in #Ahwaz, Iran. The rains, which lasted for more than two days, led to floods that paralyzed the city.

Steps from Yesterday to Today. Feminine, Silent but Lasting

We often think of cities as places made only for people. But if you pause and look up, you will see birds flying above our buildings, wires, and roads living their lives right alongside us. Wings Over Concrete explores that quiet coexistence. Each image is a visual story of birds in motion above the city—moments layered together to reveal patterns that are usually invisible to the eye. The flowing shapes you see are not drawings or effects. They are made from hundreds of real moments captured over time, then blended into a single frame. These photos show how nature moves through cities. In one image, birds sit calmly on wires while another streak of flight curves above them. In another, hundreds of birds swirl above a building or between tall buildings. Each shape tells a story of how animals and humans share the same space. This project is a reminder that even in busy cities full of noise and concrete, the skies above are alive with quiet beauty.

Vietnamese workers sits surrounded by thousands of incense sticks in Quang Phu Cau, a village in Hanoi, Vietnam, where the sticks have been traditionally made for hundreds of years. Incense plays an important role in the spiritual lives of Vietnamese people. People use incense in all worship activities. The bamboo bundles are arranged on the ground on sunny days so as to dry them. To make the incense sticks the bamboo is first split in two, cleaned and dusted and then a third of the stick is coloured red, purple or yellow. To dry them the sticks are laid out on the ground or road-side for about one day. After they have dried, the sticks are collected and put into bunches of about ten and these are fastened together. They are then sold around the provinces.

This series is a visual journey through the heart of Indonesia , a land where tradition, spirit, and community pulse through every gesture and glance. Captured during a single journey, these images document the daily lives of Indonesian people, from sacred rituals and cultural performances to agricultural labor and quiet family moments. Every frame celebrates the harmony between people and their surroundings, and the enduring beauty of cultural identity.

Image of the Colors Residence, a unique residential complex with colorful domes on Hormuz Island, Iran, inspired by the colorful soils of Hormuz and built using the sandbag technique.

Bathed in golden shafts of morning light, a quiet village street awakens under the majestic canopy of an ancient tree .The sun’s rays pierce gently through the thick foliage, casting divine patterns on the road. Beneath this natural cathedral, life moves slowly - A man herds his goats along the sun-dappled path, while a cart waits under the shade, framed by the silhouettes of villagers. Every element feels eternal — the tree, the soft beams of light, the rhythm of rural life — all coexisting in a moment that is timeless and fleeting.

In Türkiye's Bitlis Tatvan district, livestock breeders and shepherds can live in the fertile plateaus and pastures on the slopes of Mount Nemrut during the summer months to protect their animals from the hot weather.

Bathed in the golden light of dusk, a lone man gently tends to his camel amidst the sweeping silence of the desert. The towering sand dunes, softly sculpted by time and wind, form a mesmerizing natural backdrop that embraces both solitude and connection. This image captures the harmony between human and nature, set against the vast, ever-changing canvas of the Arabian desert.

Farmer leading his bull to market in China

Sholakia is a locality near Kishoreganj town in Bangladesh. It is famous for its Eidgah where the largest congregation of Eid Al-Fitr prayer in Bangladesh is held after the Ramadan, the Muslim month of fasting. 400,000 people join the prayer on every Eid.

Being one of the best preserved temples in the west bank of Luxor, the temple of Ramesses III it is an archaeological site usually full of tourists where finding a spot to reflect and admire the characteristic deep carved hieroglyphs and the quality of the wall-scenes it is not an easy task. This shot captures a candid moment of a gafeer (guardian) in the mortuary temple of Ramesses III in Medinet Habu where, immersed in thought, his mind evades from the bustle of the visitors during an unusual quiet moment in the long axis of the temple, an area in a constant flow of travellers passing by.

Newroz, the Kurdish New Year, is one of the most deeply rooted and emotionally charged public celebrations in Kurdistan. Marking the arrival of spring and symbolizing resistance, rebirth, and hope, this ancient festival is celebrated with fire, dance, music, and collective joy. My photo series, “Newroz in Kurdistan,” captures this vibrant event across different villages and regions of Iranian Kurdistan, where people gather in the mountains to celebrate not only a new season but also their shared cultural identity. The sequence begins with the iconic fire ritual—the heart of Newroz. These fires are not merely symbolic; they evoke the legendary revolt of Kawa the Blacksmith against tyranny, a myth cherished by Kurds across generations. The photos reflect this powerful heritage as people of all ages, dressed in traditional Kurdish clothes, circle the flames, jump over fire to ward off misfortune, and hold torches high to welcome the dawn of a better future. Throughout the images, one can observe the intergenerational participation of men, women, and children, all united in a timeless tradition that defies political suppression and geographic borders. This series is not staged or posed. Every frame is a spontaneous document of lived experience, driven by a desire to preserve and share the intangible heritage of a people whose stories are often overlooked. “Newroz in Kurdistan” is my tribute to those who keep their culture alive .

A snowy winter day in the eastern parts of Anatolia — on days like these, a carriage can be a better means of travel than a car.

"This travel photograph captures a moment of stillness as a woman stands beneath the intricate arches of the Vakil Mosque in Shiraz, Iran. The soft light filters through the historic architecture, illuminating delicate tilework and centuries of spiritual heritage. The image reflects the quiet harmony between traveler and place — where history, culture, and contemplation meet."

The photo was taken in Qatar during FIFA world cup 2022 beside a gift status that was given to Qatar by one of a famous fine art arts . The photo show a lady that was happy and celebrating the wining of her team in their match group. I used my Nikon d750 with lens 28-300 mm

The Lal Kach Festival, celebrated during the Bangla New Year (Pohela Boishakh), is a unique and colorful traditional event held in Munshiganj, a district near Dhaka, Bangladesh. This festival draws thousands of devotees and visitors from all corners of the country, coming together to celebrate with devotion, joy, and communal spirit. The name “Lal Kach” comes from the Bengali words “Lal” meaning red and “Kach” referring to a kind of sacred food offering. This festival is deeply rooted in folk and spiritual traditions and is centered around a shrine where devotees come to offer prayers and seek blessings for the new year. What makes the Lal Kach Festival so special is its combination of spirituality, hospitality, and cultural unity. People from different parts of Bangladesh gather in Munshiganj, often traveling long distances, to participate in the rituals. Many believe that attending this festival brings good fortune, health, and prosperity for the year ahead. A major highlight of the event is the massive communal cooking organized by the festival committee. Organizers and local volunteers prepare large quantities of traditional vegetarian meals for all devotees, often in huge pots over open fires. The cooking itself is an act of devotion and service. The food is not just nourishment, but also prasad, a sacred offering that is blessed and shared with everyone as a symbol of unity and divine grace. From early morning, the area around the festival becomes lively with the sound of drums, folk songs, and prayers. Devotees light candles and incense, offer flowers, and chant spiritual verses. Many wear red clothing, which symbolizes energy and purity, adding to the visual beauty of the gathering. The festival also includes various folk performances, traditional music, and dances, enhancing the festive mood. For the local people of Munshiganj, the Lal Kach Festival is not just an annual event—it is a matter of pride and spiritual identity. It represents a rich blend of folk faith, community bonding, and traditional Bengali hospitality. Despite being deeply spiritual, the festival is open to all, and everyone is welcomed with warmth and respect, regardless of background. In an age where modern celebrations can sometimes become commercialized, the Lal Kach Festival stands out as a pure and soulful tradition that brings together people in harmony. It reflects the essence of Bangla New Year—a time of new beginnings, collective joy, and devotion. Visitors often return year after year, not just for the rituals but for the heartfelt connection they feel with the people and the place.

The photo was taken in Egypt 2022 using my Nikon D750 camera and 28-300 MM lens showing camel worker with his traditional clothing kissing his camel at sunrise time beside the famous pyramids.